| Trumpet Basics Pupils Book Trompette Faber Music Limited
Trumpet SKU: HU.F0571519989 Brass, Methods. Trumpet Basics (pupil's book). Soft...(+)
Trumpet
SKU: HU.F0571519989
Brass, Methods. Trumpet
Basics (pupil's book).
Softcover Book. 64 pages.
Faber Music #F0571519989.
Published by Faber Music
(HU.F0571519989).
12 x 9 x 0.2 inches.
$20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Friedrichs - Warming Up Together, 40 Duets for Trombones - Intermédiaire Cherry Classics
Trombone Duet Method book - Late Intermediate SKU: CY.CC3162 Composed by ...(+)
Trombone Duet Method book
- Late Intermediate
SKU: CY.CC3162
Composed by Andrew
Friedrichs. Classical.
Book. Cherry Classics
#CC3162. Published by
Cherry Classics
(CY.CC3162). ISBN
9790530111321. 8.5 x 11
in inches. Here is
a description of Warming
Up Together from the
composer, Andrew
Friedrichs: Warming Up
Together is a book of
duets that are designed
to provide a musical
context as well as a
focus on specific areas
of technique. There are
eight sections in this
book that correspond to
what I feel are the most
fundamental components of
trombone technique: tone
(long tones), flexibility
(slow slurs, wide slurs,
and fast slurs), range
(high range and low
range), and articulation
(slow articulation and
fast articulation). The
idea for this book came
out of my own warm up. I
was trying to develop a
warm up routine that was
a series of technical
categories rather than a
series of exercises, but
I also wanted to have the
opportunity to be able to
play it with someone
else. As a trombone
player and teacher, I
have made specific
choices within the duets
based on technical
challenges that I've
observed in my own
playing and in the
playing of students and
colleagues. As a
composer, I've focused on
addressing various styles
in order to keep the
duets fun and fresh while
allowing the musical
contexts to be as far
reaching as possible in
their application. As a
not-to-be-taken-seriously
backrow member of the
orchestra, I've thrown in
the critical element of
terrible humor by way of
pathetic jokes and
ignominious puns. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020. $42.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Go for Guitar! Volume 1 MDS (Music Distribution Services) (+)
-
Warming Ups
-
Chinese Riverboat Song
-
Hands Free
-
Kalinda
-
Trinity
-
Easy Strings
-
Turn and Turn About
-
La Petite Valse
-
Holiday at C
-
Little and Large
-
Cha Cha Cha
-
Let's Rock
-
Poesta
-
Kibboets
-
Popcorn
-
Double Talk
-
Plaisir d'Amour
-
Duet 1
-
Duet 2
-
After Beat
-
Chicago Blues
-
More Warming Ups
-
Jee Mineur
-
Blues In E
-
Winter ade
-
Slovakian Dance
-
Hungarian Dance
-
Duo 1
-
Duo 2
-
Espana
-
Let's Boogie
Beethoven
-
Preliminary Exercise
-
He's a Jolly Good
Fellow
-
Shanty
-
Row the Boat
-
Le Coq Est Mort
-
This Old Man
-
Czardas
-
Arabesca
-
Dangerous Crossroads
-
Russian Lullaby
-
Kapren Varen
-
Old Head Of Kinsale
-
SMS'je
-
E harmonic minor
-
Caravan
-
Trio
-
Celtic Dance
-
Tres Guitarras
-
Blues
| | |
| The Young Flute Player Book 4 Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516087 Beginner Duets & Trios. Composed...(+)
2 or 3 flutes SKU:
M7.APUE-516087
Beginner Duets &
Trios. Composed by
Karen North. Sheet music.
32 pages. MDS (Music
Distribution Services)
#APUE 516087. Published
by MDS (Music
Distribution Services)
(M7.APUE-516087). ISBN
9781875516087. Youn
g players who are just
starting to read music
can find it very
difficult to follow a
duet or trio. This book
solves the problem with
colour coded music,
making it easy for
beginners to follow their
ensemble part. Students
only need to know 4 or 5
notes to start playing
the first duets in this
book, which covers
Beginner and Preliminary
levels. The music spans a
wide range of composers,
as well as traditional
tunes from around the
world. There is a
selection of festive
music, a section of
rounds, and there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements work well
with anything from two
players up to a large
flute choir/ensemble.
Many pieces offer maximum
flexibility as they can
be played as a trio; OR
the blue and red parts
are harmonically complete
to be played as a duet;
OR there are also
optional piano parts for
some pieces, to be found
in Book 3
(accompaniments). There
are free recordings of
all the duets and trios
on The Young Flute Player
YouTube channel. These
videos can be adjusted to
any speed, so are great
for students to practice
their part at home.This
ensemble book can be used
either independently, or
in conjunction with the
tutor/method books in The
Young Flute Player
series. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Young Flute Player Book 5 Book 5 - Débutant Music Distribution Services
2 or 3 flutes SKU: M7.APUE-516094 Intermediate Duets & Trios. Comp...(+)
2 or 3 flutes SKU:
M7.APUE-516094
Intermediate Duets &
Trios. Composed by
Karen North. Sheet music.
36 pages. MDS (Music
Distribution Services)
#APUE 516094. Published
by MDS (Music
Distribution Services)
(M7.APUE-516094). ISBN
9781875516094. This
book of Duets and Trios
(Grade 1 - Grade 3 level)
makes it easy for
students to follow their
ensemble part by using
colour coded clefs/key
signatures. The music
covers a wide range of
composers, as well as
traditional tunes from
around the world. There
is a selection of festive
music, a section of
rounds, plus there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements work well
with anything from two
players up to a large
flute choir/ensemble.
Many pieces offer maximum
flexibility as they can
be played as a trio; OR
the blue and red parts
are harmonically complete
to be played as a duet;
OR there are also
optional piano parts for
some pieces, to be found
in Book 3
(accompaniments). There
are free recordings of
all the duets and trios
on The Young Flute Player
YouTube channel. These
videos can be adjusted to
any speed, so are great
for students to practise
their part at home. This
ensemble book can be used
either independently, or
in conjunction with the
tutor/method books in The
Young Flute Player
series. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Young Clarinet Player - Débutant Music Distribution Services
2-3 clarinets - intermediate SKU: M7.APUE-516148 Intermediate Duets & ...(+)
2-3 clarinets -
intermediate SKU:
M7.APUE-516148
Intermediate Duets &
Trios. Composed by
Karen North. Sheet music.
Performance score. 36
pages. MDS (Music
Distribution Services)
#APUE 516148. Published
by MDS (Music
Distribution Services)
(M7.APUE-516148). ISBN
9781875516148. This
book of Duets and Trios
(Grade 1 - Grade 3 level)
makes it easy for
students to follow their
ensemble part by using
colour coded clefs/key
signatures. The music
covers a wide range of
composers, as well as
traditional tunes from
around the world. There
is a selection of festive
music, a section of
rounds, plus there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements work well
with anything from two
players up to a large
clarinet choir/ensemble.
Many pieces offer maximum
flexibility as they can
be played as a trio; OR
the blue and red parts
are harmonically complete
to be played as a duet.
There are free recordings
of all the duets and
trios on The Young
Instrumentalist YouTube
channel. These videos can
be adjusted to any speed,
so are great for students
to practise their part at
home. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Flute 101.5 Flûte traversière Theodore Presser Co.
A Method and Duet Collection for the Advanced Beginner Flutist. Textbook. 76...(+)
A Method and Duet
Collection
for the Advanced Beginner
Flutist. Textbook. 76
pages.
Theodore Presser Company
#414-
41229. Published by
Theodore
Presser Company
$26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Popular Christmas Duets 1 Piano, 4 mains - Intermédiaire Hal Leonard
Intermediate Level 1 Piano, 4 Hands - Intermediate SKU: HL.1471182 8 D...(+)
Intermediate Level 1
Piano, 4 Hands -
Intermediate SKU:
HL.1471182 8
Delightful Arrangements
for Piano Duet The
Phillip Keveren
Series. Composed by
Various. Arranged by
Phillip Keveren. Piano
Duet. Christmas,
Christmas Secular,
Holiday, Piano Duet.
Softcover. 48 pages.
Published by Hal Leonard
(HL.1471182). ISBN
9798350127799. UPC:
196288213604.
9.0x12.0x0.108
inches. Warm up the
eggnog and enjoy these
new intermediate-level
duets with your favorite
duet partner! This new
collection features 8
delightful Christmas
classics expertly
arranged by Phillip
Keveren, including: All I
Want for Christmas Is You
⢠Baby, It's Cold
Outside ⢠Happy Xmas
(War Is Over)
â¢ÂLast Christmas
⢠Mary, Did You
Know? ⢠Merry
Christmas ⢠White
Christmas. $16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cello Basics Violoncelle [Partition + Accès audio] - Débutant Faber Music Limited
A Method for Individual and Group Learning. Composed by Jessica O'Leary and Pa...(+)
A Method for Individual
and
Group Learning. Composed
by
Jessica O'Leary and Paul
Harris.
Method/Instruction;
String - Cello Studies or
Collection. Faber
Edition:
Basics. Book and Digital
Download. Faber Music
#12-
0571542085. Published by
Faber
Music
$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Step by Step Saxophone Saxophone - Facile Universal Edition
(Easy pupil-teacher studies). Composed by James Rae. For saxophone. Score and pa...(+)
(Easy pupil-teacher
studies). Composed by
James Rae. For saxophone.
Score and part. 44 pages.
Published by Universal
Edition
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Voyage for Two Violins 2 Violons (duo) - Débutant Imagine Music
Composed by Matt Renzi. Performance score. Published by Imagine Music Publishing...(+)
Composed by Matt Renzi.
Performance score.
Published by Imagine
Music Publishing
(IG.IMS1513).
$14.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Young Clarinet Player Clarinette Theodore Presser Co.
Clarinet SKU: PR.494031980 Beginner Duets & Trios. Composed by Kar...(+)
Clarinet SKU:
PR.494031980
Beginner Duets &
Trios. Composed by
Karen North. Theodore
Presser Company
#494-03198. Published by
Theodore Presser Company
(PR.494031980). UPC:
680160686162. Young
players who are just
starting to read music
can find it difficult to
follow a duet or trio.
This book solves the
problem with color coded
music, making it easy for
clarinet beginners to
follow their ensemble
part.Students only need
to know 4 or 5 notes to
play the first duets in
this book, which covers
Beginner and Preliminary
levels.The music spans a
wide range of composers,
as well as traditional
tunes from around the
world. There is a
selection of festive
music, a section of
rounds, plus there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements by Karen
North have been prepared
in consultation with
clarinet specialist Sally
Lucas.The arrangements
work well for two players
up to a large clarinet
ensemble. Many pieces
offer maximum flexibility
as they can be played as
a Duet (use the two upper
parts) or as a Trio.Free
recordings of all the
duets & trios:
https://www.youtube.com/c
hannel/UCh0MBwKcJUR75_3wX
RyYj5QPreview pages:
https://www.theyoungflute
player.com/clarinet-music
Specifications:•
Beginner-Preliminary
level• 32
pages• 29 duets and
trios• 8 warm-up
exercises• 9
rounds• Keys up to
one sharp or flat•
Time signatures: 2/4,
3/4, 4/4, C, 6/8,
2/2. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Adams S /Flute Basics With Cd Flûte traversière [Partition + CD] Faber Music Limited
By Sally Adams. For Flute. This edition: Pupil's Book. Book; CD; Method/Instruct...(+)
By Sally Adams. For
Flute. This edition:
Pupil's Book. Book; CD;
Method/Instruction;
Woodwind - Flute Method
or Collection. Faber
Edition. Published by
Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clarinet Basics Clarinette [Partition + CD] - Débutant Faber Music Limited
(A Method for Individual and Group Learning). By Paul Harris. For Clarinet. Book...(+)
(A Method for Individual
and Group Learning). By
Paul Harris. For
Clarinet. Book; CD;
Method/Instruction;
Woodwind - Clarinet
Method or Collection.
Faber Edition: Basics.
Published by Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trumpet Basics Trompette [Partition + CD] - Débutant Faber Music Limited
(A Method for Individual and Group Learning). By John Miller. For Trumpet. Book;...(+)
(A Method for Individual
and Group Learning). By
John Miller. For Trumpet.
Book; Brass - B-Flat
Cornet (Trumpet) Method
or Collection; CD;
Method/Instruction. Faber
Edition: Basics.
Published by Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Saxophone Basics Saxophone [Partition + CD] Faber Music Limited
(A Method for Individual and Group Learning (Student's Book)). By Andy Hampton. ...(+)
(A Method for Individual
and Group Learning
(Student's Book)). By
Andy Hampton. For
Saxophone. This edition:
Student's Book. Book; CD;
Method/Instruction;
Woodwind - Saxophone
Method or Collection.
Faber Edition: Basics.
Published by Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Improv Duets for Classical Musicians GIA Publications
(A Concise Collection of Musical Games for Two Players). By Jeffrey Agrell. Musi...(+)
(A Concise Collection of
Musical Games for Two
Players). By Jeffrey
Agrell. Music Education.
Book. 46 pages. Published
by GIA Publications
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Saxophone Basics Saxophone - Débutant Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and
Duets.
Composed by Paul Harris.
Instrumental Series;
Solo;
Solo Small Ensembles.
Basics
Series. Christmas;
Winter.
Book. Faber Music #12-
0571541623. Published by
Faber Music
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| New Sousas Favorite March Bk-Fl1 2 Flûtes traversières (duo) Carl Fischer
The New Sousa's Favorite Marches. (Flute 1 and Piccolo). By John Philip Sousa (1...(+)
The New Sousa's Favorite
Marches. (Flute 1 and
Piccolo). By John Philip
Sousa (1854-1932).
Concert Band. For
Piccolo, Flute I. Carl
Fischer Band Books
Series. Concert Band
Method. Standard
notation. 16 pages.
Published by Carl
Fischer
(1)$4.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Russian Fiddle Tunes for Two Violins 2 Violons (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Russi...(+)
Arranged by Deborah
Greenblatt. Violin Duet.
For 2 violins. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
(1)$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Cellos 2 Violoncelles (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Russian...(+)
Arranged by Deborah
Greenblatt. Cello Duet.
For 2 cellos. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Violas 2 Altos (duo) Greenblatt and Seay
Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Russian...(+)
Arranged by Deborah
Greenblatt. Viola Duet.
For 2 violas. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Mandolins 2 Mandolines (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Mandolin Duet. For 2 mandolins. Tunes for Two. R...(+)
Arranged by Deborah
Greenblatt. Mandolin
Duet. For 2 mandolins.
Tunes for Two. Russian
Folk. Tune book. Standard
Notation. 47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Christmas Flute Basics Flûte traversière Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and
Duets.
Composed by Paul Harris.
Instrumental Series.
Basics
Series. Christmas. Book.
Faber Music
#12-0571540694.
Published by Faber Music
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Clarinet Basics Clarinette Faber Music Limited
A Fun Collection of Christmas Solos and Duets. Composed by Paul Harris. Instr...(+)
A Fun Collection of
Christmas Solos and
Duets.
Composed by Paul Harris.
Instrumental Series.
Basics
Series. Christmas. Book.
Faber Music
#12-0571540686.
Published by Faber Music
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Get Ready for Major Scale Duets! Piano seul [Partition] FJH
By Rossi/Mcarthur. For Piano. The FJH Piano Teaching Library. Includes instructi...(+)
By Rossi/Mcarthur. For
Piano. The FJH Piano
Teaching Library.
Includes instructional
pages, review games,
ear-training activities,
scale reference charts,
technical warm-ups, and
more. Book. Published by
The FJH Music Company,
Inc.
(1)$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trumpet Method Complete Trompette Charles Colin Music
Trumpet SKU: M7.AHW-1012 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU:
M7.AHW-1012 Composed
by Charles Colin. Sheet
music. Performance book.
Charles Colin Corp. #AHW
1012. Published by
Charles Colin Corp.
(M7.AHW-1012).
English. A
collection of method
books, exercises, solos,
embouchure and breath
control studies, and
duets directed to players
at all levels of their
development. $109.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Young Saxophone Player - Débutant Music Distribution Services
2 or 3 saxophones - very easy to easy SKU: M7.APUE-516155 Beginner Due...(+)
2 or 3 saxophones - very
easy to easy SKU:
M7.APUE-516155
Beginner Duets &
Trios. Composed by
Karen North. Score with
online audio files.
Performance score. 32
pages. MDS (Music
Distribution Services)
#APUE 516155. Published
by MDS (Music
Distribution Services)
(M7.APUE-516155). ISBN
9781875516155.
English. Young
players who are just
starting to read music
can find it very
difficult to follow a
duet or trio. This book
solves the problem with
colour coded music,
making it easy for
saxophone beginners to
follow their ensemble
part. Students only need
to know 4 or 5 notes to
start playing the first
duets in this book, which
covers Beginner and
Preliminary levels. The
music spans a wide range
of composers, as well as
traditional tunes from
around the world. There
is a selection of festive
music, a section of
rounds, plus there are
warm up exercises, each
focusing on one aspect of
ensemble technique. The
arrangements by Karen
North have been prepared
in consultation with
saxophone specialist
Camilla Bellstedt. The
arrangements work well
from two players up to a
large saxophone ensemble.
Many pieces offer maximum
flexibility as they can
be played as a Duet (use
the two upper parts) or
as a Trio. Free
recordings of all the
duets and trios in this
book are available on The
Young Instrumentalist
YouTube channel. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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